Dr. Thomas White. 153 



edge of a bank, 1 below which is a piece of low flat land 

 often flooded by the Mersey, and looking towards Man- 

 chester. The foundation is of bad bricks, and they are 

 giving way ; the bank itself is wearing down. The pillar is 

 built of red sandstone, each stone being bevelled, so that in 

 many cases water lodging in the hollows has worn away 

 the edges, and in at least one case the deep cavity made 

 is stuffed up with bricks. It is almost fourteen feet high ; a 

 little ornament that was believed to be on the top is broken 

 off, and the whole looks desolate, outcast, and forlorn, 

 ragged and wretched. We have seen monuments two 

 thousand years old in better condition. Probably some 

 one will say that the monument is well known because 

 carefully described in some books. We did not know it, 

 and now record our pilgrimage of this year. 



We add the inscription, carefully read and written out 

 by Dr. Joule 



To the memory of Dr. Thomas White, who, after acquiring 

 prominence in his profession, retired from its honors and emoluments 

 to enjoy in rural tranquility the pursuits of knowledge. Serene and 

 cheerful through the declining period of life he attained the Sist year 

 of his age with faculties unimpaired, and died July 20, 1776. The 

 grove which he planted and reared is now in its maturity. Con- 

 secrated to his revered name by his only son, Charles White, who 

 erected this monument A.D. 1790. 



1 The bank is really the old river limit. The Mersey is now confined as a 

 rule to a narrow channel, but sometimes it seeks its old haunts and forms a 

 wide lake. The sides of this old limit are called the Ees. Is that the Celtic 

 as, steep bank or water-fall, or is it not rather a name from the cutting which 

 in floods eases the flow ? 



It is not easy to obtain near Manchester the sight of any house with its 

 grounds nearly as they were a hundred years ago. Ruinous as these of the 

 Priory have become, they are like bad sketches, where the outlines are not 

 seen exactly, but are blurred by the artist to save trouble ; such pictures as are 

 generally of twilight in quiet distances, or of mist as if made to conceal instead 

 of to reveal ; when not intended to cover incapacity, ignorance, or idleness. 



